Passion Pit: 'Chunk of Change'
Passion Pit are the latest New-York outfit to set pulses racing on both sides of the Atlantic, their mesmeric electro-pop finding its way into the CD player of every music critics stereo and staying firmly put. Or should that be Passion Pit is? Unbelievably, every song on debut-EP ‘Chunk of Change’ was written and recorded by one man, Michael Angelakos. Michael, I salute you. Whatever the correct grammar, with the help of four like-minded others Angelakos’ euphoric, rhythmic output is ridiculously good.
The record starts with ‘I’ve Got Your Number’, a song which sounds like it was written specifically for this place and time – it’s got some of the fine intricacies of LCD Soundsystem’s ‘Sound of Silver’ combined sumptuously with the accessibly pop delivery of MGMT, behind which lie some of the most well layered computer-sounds you’re ever likely to hear. This is just the intro, by the way. I was enjoying it already, it’s probably impossible not to, but then I got the chorus. Yes! What makes this song great instead of just bloody good is the emotion that really pours out as Angelakos wails ‘Have you seen me cry, tears like diamonds’, the words almost surprising you as they come. Without banging on and going into over-analytic mode, the way the vocal is doubled or tripled up here brings it on to another level too. Production-wise, this song gets the full 10. Testament to it also comes in the shape of me hitting repeat straight after the full six-minutes-plus was over. How do you follow it?
Here’s how: ‘Smile Upon Me’ reveals yet more about Passion Pit and Angelakos’ ability with production whilst confirming that these songs are heartfelt and, well, passionate. Lyrically, this song points towards reaffirmation of friendships and the kind of love that never dies, but it’s just not as clichéd as I just made it sound. It’s euphoric. If ever that word was used in a song not to be found in Ibiza, it has to be on this record – it literally makes you want to run downstairs, find a housemate and give them a bloody big hug. It’s a bit Black Kids actually, this one, but it’s so much better I’m almost ashamed to like Black Kids now – sorry.
So, we’re two tracks in and already I sound like Passion Pits publicist, right? I wish. That lucky bugger is going to be mega rich. When the editor of this delightful website, Fran, sent me this EP, she told me I was going to like it. Understatement of 09. My job is the best.
Going back to the music, if Passion Pit were ever going to disappoint me, surely the horribly titled ‘Cuddle Fuddle’ would be that moment, right? Nope - sorry, all you fans of bitter, cutting journalism, it didn’t. Ok, so it’s not the best track on the record but it’s still fantastic, almost all because of these funk-jazz keys in the background that are holding the song back a little, stopping it from running off into the dance-floor electro that preceded it. The song is all the better for it, allowing the vocal to take the wheel for a while and pour out more heart onto record. This one might never be a single, but you’ll never skip it either.
‘Live to Tell the Tale’ returns Passion Pit to the more up-tempo sound found on the first two tracks but without the electro-party edge. Actually, this song sounds like it could’ve been made by The Postal Service if they had a few extra members and were perhaps a bit more hopeful – Passion Pit are a versatile outfit, of that there is no doubt. I find it hard to pin down what it is I really like about this particular song, but it must be something because it keeps getting played. Perhaps it’s that similarity with early Postal Service stuff, a band which I must admit to being rather fond of, or perhaps it’s that Angelakos’ lyrics display real beauty throughout, simple words with simple connotations that are somehow made to be profound and mesmeric – I don’t really know. Sometimes it’s great to love something and not know why, isn’t it?
‘Better Things’ starts with a voice-sample that says simply ‘This will be the best song you’ve ever heard’. Bold statement, that one. It’s clear already that I like this record a heck of a lot without making such ludicrous suggestions, especially seeing as there are better songs than ‘Better Things’ on the EP, but its good you know. The music itself is again really interesting, there are so many layers here it’s hard to imagine how one guy wrote it all. Amazing vision or just admirable perseverance? I don’t know, but what I do know is that this song has a fantastic chorus, one that should see it rewarded with it’s own CD-sleeve as it has single written all over it. Later on the track has this semi-romantic breakdown too, it sounds like they roped in Joanna Newsom to play the harp before slamming you back into the chorus again for another spin. More love song stuff this may well be, but it’s dark and light in different stages, unbelievably deep in sound and so accessible you’ll find it hard to stop singing. This is pop music how it’s meant to be made.
I’ve written a lot haven’t I? Sorry if it’s too much, but if you can’t dedicate page-space to the most exciting music you’ve heard since New York gave us The Strokes, what can you write about? That said, I’m going to let the last song, ‘Sleepyhead’, speak for itself when you buy this EP. It’s the best song on the record by the way.
Fucking hell, this is good.
10/10
Words: Benjamin Coley
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